If there is a one universal music law I've found to be true it's that the more insane, upsetting or extreme end of the music spectrum you're working with, in general the nicer the people who created it are going to be. So middle of the road, commercial artists are going to be the biggest assholes? See?
I guess it kind of doesn't make sense, but then again if you're in it for yourself, even if it sounds like the most hateful, apocalyptic meltdown that's just because it's all coming out in the practice space and not on peoples faces. I get it.
So obviously we've got some of the nicest guys in Insult, Derek, Nate and Paulie from Boston...this trio is pushing those human limits of speed, doom and growly vocals. There are six tracks here, from "Hate Your Face" and "Shitbag". It's amazing how foreign sounding the riffs are, unrepeating, and bordering on experimental at times, there's almost nothing to hold onto as the complete wall of noise starts in some internal hyper rhythm like in "Sheeple". There are hints at softer hardcore punk here and there, but mostly they're frighteningly dark and with inhuman speed.
It's in the final track, "Diddler on Parole" that they slow down for a minute and come up with a sludgy power riff between the tortured throaty vocal, a single repeated chord with kick and cymbal crashes, reminding me of a punkier Harvey Milk. A deliberately off key solo appears for a second, maybe just to flip off the whole idea.
The B-Side is from Rampant Decay, a 4-piece from Providence who's also throwing puppy birthday parties with Napalm Death listed as an influence...haven't thought about those guys since my friend Dave was carving their logo into the back table in art class. If they would have only accepted that desktop as his final project....
"Apocalyterian Party" is working with another switch between a semi-rhythmic structure that is mostly instrumentation being played at top possible speed and then slowing down to Melvins sludge, nice contrast guys. Rich's vocals manage to get even lower and more disturbing than the first side, it's truly evil. It's scary to even think how they ended up here musically, raising the bar. "Pigshit" gets more metal sounding with maybe their only attempt at melody, another track of insanely swapping tempos with Rich remaining king of the underworld. Truly frightening stuff that makes me question that music law altogether, this single is the anti-christ soundtrack.
Mostly clear, with black, like smoke trapped in amber....nice, from Patac Records.
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